The prima ballerina Marta Petkova is subtle, yet assertive in her presence – both live and in every shot by the documentary photographer Dimitri Stefanov. She is the inspiration for his upcoming exhibition "PRIMA", dedicated to the art of ballet.
Since the day Dimitri first stepped behind the scenes on the stage, until today, almost 3 years have passed. His photographies will be shown for the first time on 29 April at the Sofia Opera and Ballet. The date is no coincidence, it is the International Dance Day. The realization of this special exhibition is the documentary filmmaker's way to bring the audience closer to the world of ballet art. By becoming an ambassador of classical dance, Stefanov also expresses his support for the Sofia Opera and Ballet. He is convinced that the institution has international significance and is a globally recognized emblem of Bulgarian national culture.
We introduce you with the Bulgarian prima ballerina Marta Petkova and the photographer Dimitri Stefanov to tell you more about the "PRIMA" project.
Why did you choose to photograph ballet? What provoked you with this idea?
Dimitri: With its mystery. Ballet is an art that has always been somewhat mystical to me. We go to see the magic, but there is a mystery behind the lightness and airiness that remains unknown to us. It also awoke a curiosity in me. I wanted to see this art through my eyes, and they like to look behind the scenes where the first steps, the painful steps, the wrong steps even, are taken. Where there's a lot of authenticity. And I wanted to show exactly that.
For you, Marta, what is the different that you see when you look at the photographs? What is it like to see yourself from the side?
Marta: In photography we are used to beautiful ballet poses, but these shots have their own emotion. They have their own charge and story. They moved me a lot because through them I was able to see myself from the side. Outside the end result and the beauty.
When Dimitri showed them to me for the first time, a wave of mixed feelings washed over me. The photographies from the "PRIMA" project unfolded before my eyes a very long way. One that we all walk before the audience gets to experience the end result and feel the tale. But I also saw my life, my everyday life. Eyes full of tears. Eyes sparkling with inspiration. Everything!
What does the audience see and what remains hidden behind the scenes?
Marta: The audience sees the most important thing. It sees the perfect. But, if you ask me, the sweetest part is before that – in the hall, the rehearsals. We're not robots. We have bad days. Hidden there is the daily motivation in search of the perfection that never comes. You want more and more... and you're always dissatisfied.
Backstage, in the halls – that's where my life is. That's where everything happens.
How did you choose ballet?
Marta: It chose me, I didn't choose it. And I'm grateful. I will never stop falling in love with this art. I will not stop rediscovering it and appreciating it.
How would you describe the path of ballet that little ones dream of taking?
Marta: I'm not going to lie. The path is strewn with many obstacles, hard work, sometimes pain, hunger. It's a path of daily motivation and struggle. But ballet also gives – it has given me a lot, it has taught me patience, discipline, responsibility and respect.
Dimitri, did your feeling about this art change after being allowed so close?
Dimitri: I am certainly even more respected. For me, the magic is in the process of refinement. Watching the professionals of the Sofia Opera and Ballet company was more than an emotional experience, even beyond the topic of ballet art. For a long time after filming this project, I needed to get together and talk about the sensations in the footage. I hope that nearly 3 years later, the "PRIMA" exhibition will meet the audience with the art of ballet in a new way and immortalize these fantastic artists and the inimitable Marta Petkova.
Did you have a hard time making the final selection and what did you want to keep?
Dimitri: I don't think any photographer finds it easy to detach emotionally from his photography. Selecting images for an exhibition and curating them is an extremely complex process, especially when it comes to personal projects. That's why I consulted a few of my friends – great international names in photography – who helped me make the final selection. For me, however, the most important thing is that a photography speaks, not just that it is well executed as a composition. I looked for and left those shots that would excite, dialogue and bring the spectator closer to the world of a prima(ballerina).
What is left in your memories of this period – beyond what you photographed?
Dimitri: It's very simple, I relate it clearly to the world of photography as well. During every rehearsal, a few words rang out in the hall, which are still ringing in my head today: “Okay, let's do it again!” This is the harsh truth of the path to success.
Marta, what are the emotions you feel during rehearsal and in front of an audience?
Marta: Full palette. It's very colourful in the hall. Emotions can be all sorts. Sometimes there are tears, sometimes laughter. It's wonderful on the stage, especially when you immerse yourself in the tale and let those few hours fill your soul, recharge it, wing it. And so until the next spectacle. Opiate.
What doesn't your audience know about the photographic process and the preparation of such a project?
Dimitri: We can give the spectator everything and nothing. But what the audience needs to know, and anyone interested in photographic storytelling, is that it is a feeling, it has texture and (even) smell. Documentary photography is not for quick consumption, but bears the scars of time, where we can return again and again.
The exhibition is planned to be presented beyond the borders of Bulgaria. Where do you want to show the Bulgarian "PRIMA"?
Dimitri: "PRIMA" has offers to be presented in several European cities, although if you ask me, I would travel the world with it. But we'll start in Paris.
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